That's a Good Question … How to Teach by Asking Questions

That's a beneficial Question ... How to Teach by means of Asking Questions, by Marienne Uszler The FJH Music Company, Inc. (Westport Business Park, 2525 Davie Rd Ste 360 Fort Lauderdale, FL 33317-7424) 2003 90pp $995

What kinds of questions do you ask your students? What do their answers reveal to you? Have you at any time taped your lessons to discover the answer? What a question! These are just the kinds of thought-provoking inquiries that author Marienne Uszler encourages us to consider in this slim whirl Although it's small, it packs a powerful perforate pedagogically speaking. Naturally, it starts with a question. "Should asking questions play a big character in a piano or keyboard lesson?" And from that single lead, a most persuasive dialogue with the reader is launched.

The work efficiently covers the underlying wisdom behind employing a more Socratic approach and by what means to achieve it on a practical horizontal Not only are we given regimen for thought about the value of generating questions in the exercise but equally present are miraculous ideas for making practical use of the suggestions. The logical progression begins with examining the teacher-student dynamic, then put in motions on to "types" of questions and "types" of pupils and finally, a look at cluster dynamics and how they impact the put in mind ofed approach, including excellent guidance for posing questions in collection situations and performance-related activities.

The author makes the case eloquently and succinctly for an approach that endeavors to engage with learners The benefits that come from an approach that nourishs interaction are many, and at the top of that list are alert, active and attentive pupils And the benefits aren't solitary for the students. As the author says, "Asking questions, listening to answers, and reacting to what you hear gives your teaching another dimension."

Not surprisingly, a fair portion of the work is devoted to questions, starting with the amusingly titled "All Questions rise Not Created Equal," clarifying the difference between clos questions (having specific answers) and unclose questions (needing original responses). Knowing when and by what means to use both effectively in the exercise is essential; but seeing examples of one as well as the other printed side-by-side makes a stalwart appealing case for favoring unclose questions: "How could we make this section entire more exciting?" "What do you think it was like to be single of the Bach boys?" Answers to those impressed signs of questions, says the author, " are like ripples in a pond stretching beyond the first circle."

Personal interaction with our learners is the goal, and in this way we can ultimately lead our pupils to experience a more personal relationship with the music. Which begs the question, what could be better than that? Reviewed through Patricia Powell, West Chester, Pennsylvania.

COPYRIGHT 2004 Music Teachers National Association, Inc.

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